Art Emphasized the Ideal and the Abstract Even as Modern Art Attempts to Do

The Early on 20th Century

The early 20th century was marked by rapid industrial, economic, social, and cultural alter, which influenced the worldview of many and set the phase for new artistic movements.

Learning Objectives

Identify how industrial, economical, social, and cultural alter prepare the stage for the fine art movements of the early on 20th century

Central Takeaways

Key Points

• The first two decades of the 20th century were marked by enormous industrial, economical, social, and cultural developments.
• International merchandise brought with it increasing growth and prosperity, along with a rise in poverty and slums in major cities. Urbanization, advances in science and engineering, and the spread of goods and information were markers of the times.
• With the outbreak of Earth War I in 1914, art became heavily influenced by the desire to abstract life and escape the horrific possibilities of the man condition. Artists began to question and play around with themes of reality, perspective, infinite, and time.

Key Terms

• urbanization: The change in a country or region when its population migrates from rural to urban areas.

The first two decades of the 20th century were marked by enormous industrial, economical, social and cultural change. International trade brought with it increasing growth and prosperity, along with a ascension in poverty and slums in major cities. Urbanization, architectural advances, increases in technology, and the spread of goods and data were markers of the times. Competition between nations was reflected in attempts to show off advances in applied science, business, and architecture, amidst other things. Prominent scientific advancements of the fourth dimension included Einstein'southward Theory of Relativity and Freud'due south evolution of modernistic psychology.

Later on the relative peace of virtually of the 19th century, rivalry between European powers erupted in 1914 with the outbreak of the offset Earth War. Over 60 one thousand thousand European soldiers were mobilized from 1914–1918 as countries around the world were called into the conflict. With the widespread decease and destruction of the greatest war the world had ever seen, art increasingly became a ways for escapism, a style to abstruse life and escape the difficulties of the homo condition.

A ration party of the Royal Irish gaelic Rifles in a communication trench during the Battle of the Somme, July 1916: The decease and destruction of Globe State of war I contributed to the desire of artists to abstract life.

The economic and social changes of the early 20th century greatly influenced the Due north American and European worldview which, in turn, shaped the development of new styles of art. Artists began to question and experiment with themes of reality, perspective, infinite and time, and representation. Einstein'due south Theory of Relativity contributed to the development of cubism, and developments in psychology profoundly influenced the subject area matter of a number of creative schools of thought. The rapid ascent of technology impacted artists both directly and indirectly, from the invention of new artistic materials to subject matter and themes.

Fauvism

The Fauves were a grouping of early 20th century Modern artists based in Paris whose works challenged Impressionist values.

Learning Objectives

Contrast the characteristics of Fauvism, every bit found in the work of Matisse and Derain, from those of its predecessor Impressionism

Key Takeaways

Central Points

• The Fauvist movement, led past Henri Matisse and Andre Derain, officially lasted for only four years: 1904–1908.
• Vivid color, simplification, brainchild, and unusual brush strokes are hallmarks of the Fauvist style. Fauvist influences and references include Van Gogh'due south Post- Impressionism and the Neo-Impressionist technique of Pointillism.
• Gustave Moreau, a controversial professor at the École des Beaux-Arts in Paris, mentored several of the Fauves, including Matisse, and profoundly influenced their piece of work.

Key Terms

• Post-Impressionism: (Art) a genre of painting that rejected the naturalism of impressionism, using color and form in more expressive manners.
• pointillism: In art, the use of small areas of color to construct an image.
• Fauvism: An artistic movement of the last part of the 19th century that emphasized spontaneity and the use of extremely brilliant colors.

Fauvism is the fashion of les Fauves (French for "the wild beasts"), a short-lived and loose group of early 20th century Modernistic artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. While Fauvism as a mode began around 1900 and continued across 1910, the motility as such lasted simply a few years, 1904–1908, and had 3 exhibitions. The leaders of the motion were Henri Matisse and André Derain.

Charing Cantankerous Bridge, London by André Derain, 1906: The vibrant, surprising utilize of colour in this work is characteristic of the Fauvist style.

Apart from Matisse and Derain, other artists included Albert Marquet, Charles Camoin, Louis Valtat, the Belgian painter Henri Evenepoel, Maurice Marinot, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault, the Dutch painter Kees van Dongen, the Swiss painter Alice Bailly, and Georges Braque (later on Picasso'due south partner in Cubism).

The paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their discipline matter had a loftier caste of simplification and abstraction. Fauvism can be classified equally an extreme development of Van Gogh's Postal service-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters, in particular Paul Signac. Other fundamental influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated colour—notably in paintings from Tahiti—strongly influenced Derain's work.

Gustave Moreau, a controversial professor at the École des Beaux-Arts in Paris and a Symbolist painter, was the movement'southward inspirational instructor. Moreau taught Matisse, Marquet, Manguin, Rouault, and Camoin during the 1890s, and was viewed by critics as the group'south philosophical leader until Matisse was recognized every bit such in 1904. Moreau's broad-mindedness, originality, and affirmation of the expressive authorization of pure color was inspirational for his students.

Derain and Matisse worked together through the summer of 1905 in the Mediterranean village of Collioure, and later that year displayed their highly innovative paintings at the Salon d'Automne. The vivid, unnatural colors led the critic Louis Vauxcelles to derisively dub their works every bit les Fauves, or "the wild beasts," which the artists and so appropriated as the championship for their movement. The painting that was singled out for special condemnation, Matisse'due south Woman with a Hat, was afterward bought by the major patrons of the avant-garde scene in Paris, Gertrude and Leo Stein.

Woman with a Chapeau by Henri Matisse, 1905.: This painting was rejected by critics when initially exhibited, but was before long acquired by avant-garde collectors Leo and Gertrude Stein.

Primitivism and Cubism

As one of the most influential artists of the xx^th century, Pablo Picasso is widely known for his involvement in Cubism and Primitivism.

Learning Objectives

Place Picasso'south unique importance to the development of both Primitivism and Cubism in the early 20th century

Cardinal Takeaways

Key Points

• 1906–1909 is referred to as Picasso's African period, during which he produced Les Demoiselles d'Avignon and several other paintings incorporating primitivist elements.
• Picasso was inspired past African artifacts as well as the work of Post-Impressionist artist Paul Gauguin.
• The formal elements of Les Desmoiselles d'Avignon bridged Picasso'south African Menses and subsequent Cubist piece of work.
• Picasso and Georges Braque co-founded the Cubist movement, 1 of the well-nigh influential movements in Modern Art.
• Cubism stressed basic abstract geometric forms that presented the subject from many angles simultaneously.

Fundamental Terms

• primitivism: Primitivism is a Western art move that borrows visual forms from non-Western or prehistoric peoples, a exercise that was central to the development of mod art.

African Period and Primitivism (1906–1910)

During the late 19th and early 20th centuries, the European cultural aristocracy were discovering African, Micronesian, and Native American art. African artifacts were being brought back to Paris museums following the expansion of the French empire into Africa. The press was abuzz with exaggerated stories of cannibalism and exotic tales about the African kingdom of Dahomey. The mistreatment of Africans in the Belgian Congo was exposed in Joseph Conrad's popular volume, Heart of Darkness.

Artists such as Paul Gauguin, Henri Matisse, and Picasso were intrigued and inspired by the stark power and simplicity of styles of "archaic" cultures. Around 1906, Picasso, Matisse, Derain, and other Paris-based artists had acquired an interest in Primitivism, Iberian sculpture, African art, and tribal masks, in part due to the works of Paul Gauguin that had recently achieved recognition in Paris'due south advanced circles. Gauguin's powerful posthumous retrospective exhibitions at the Salon d'Automne in Paris in 1903 and 1906 had a powerful influence on Picasso'due south paintings.

The Moon and the Earth by Paul Gauguin, 1893: Picasso was greatly influenced by Gauguin'southward African inspired works like The Moon and The Earth.

In 1907, Picasso experienced a "revelation" while viewing African art at the ethnographic museum at Palais du Trocadéro. African fine art influenced Picasso's painting Les Demoiselles d'Avignon (1907), specially in its treatment of the two figures on the right side of the composition. This painting is also considered a protocubist work bridging Picasso's African and Cubist periods. Other works of Picasso's African Period include Bust of a Woman (1907, in the National Gallery, Prague); Mother and Child (Summer 1907, in the Musée Picasso, Paris); Nude with Raised Arms (1907, in the Thyssen-Bornemisza Museum, Madrid, Spain); and 3 Women (Summer 1908, in the Hermitage Museum, St. Petersburg).

Les Desmoiselles d'Avignon by Pablo Picasso, 1907: This piece of work is influenced past primitivism and is considered to be ane of the earliest examples of Cubist painting.

Cubism (1909–1912)

Cubism, established by Picasso and his colleague Georges Bracque, was marked by a revolutionary departure from representational art. In Cubist artwork, objects were analyzed, broken up, and reassembled in an abstracted form instead of being depicted from 1 viewpoint. Picasso, Braque, and other Cubists depicted subjects from a multitude of viewpoints to create a greater telescopic of context. Cubism has been considered the most influential fine art movement of the 20th century.

Violin and Candlestick by Georges Braque, 1910: Georges Braque, with Picasso, was 1 of the founders of Cubism.

Cubism had a global reach every bit a movement, influencing like schools of idea in literature, music, and compages. Particular offshoots beyond France included the movements of Futurism, Suprematism, Dada, Constructivism, and De Stijl, which all developed in response to Cubism. Early Futurist paintings take some commonalities with Cubism: the fusing of the past and the present and the representation of different views of the subject pictured at the same time, as well called multiple perspective, simultaneity or multiplicity. Constructivism was influenced by Picasso'due south technique of amalgam sculpture from dissever elements. Other common threads betwixt these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

Cubist Sculpture

Merely as in painting, Cubist sculpture is rooted in Paul Cézanne's reduction of painted objects into component planes and geometric solids (cubes, spheres, cylinders, and cones). And just as in painting, it became a pervasive influence and contributed fundamentally to Constructivism and Futurism.

Cubist sculpture developed in parallel to Cubist painting. During the fall of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. Marcel Duchamp was responsible for some other extreme evolution inspired by Cubism. The ready-made arose from a articulation consideration that the work itself is considered an object (just equally a painting), and that it uses the material detritus of the earth (as collage and newspaper mache in the Cubist construction and Assemblage). The next logical pace, for Duchamp, was to present an ordinary object equally a self-sufficient work of fine art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a canteen-drying rack as a sculpture in its ain right.

Other Forms of Cubism

Futurism and Constructivism developed from Cubism in Italy and Russia respectively.

Learning Objectives

Differentiate the artistic styles of Futurism and Constructivism from their Cubist origins

Key Takeaways

Cardinal Points

• Cubist piece of work represents an artistic subject from multiple perspectives simultaneously.
• Italian Futurism and Russian Constructivism are two movements that were greatly influenced by Cubism.
• Divisionism, a technique in which color and light are deconstructed, is an of import attribute of Futurist and Cubist piece of work.
• Gertrude Stein, Wallace Stevens, Pierre Reverdy, and William Faulkner all applied Cubist principles to written work.
• Cubist poets and writers also influenced Dada and Surrealism.

Key Terms

• futurism: An early 20th century avant-garde art movement focused on speed, the mechanical, and the modern, which took a deeply antagonistic attitude to traditional artistic conventions; (originated past F.T. Marinetti, amidst others).
• divisionism: In art, the use of pocket-size areas of colour to construct an paradigm.
• constructivism: A Russian movement in modern fine art characterized past the creation of nonrepresentational geometric objects using industrial materials.

Cubism

Cubism was an avant-garde fine art movement of the early 20th century pioneered by Georges Braque and Pablo Picasso, and later joined by Juan Gris, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, and Fernand Léger. The motility revolutionized European painting and sculpture and inspired related movements in music, literature, and architecture. Cubism has been considered the almost influential art movement of the 20th century.

Violin and Candlestick by Georges Braque, 1910: Georges Braque, with Picasso, was one of the founders of Cubism.

In Cubist artwork, objects are analyzed, broken upwards, and reassembled in an abstracted class. Instead of depicting objects from i viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.

Constructivism

Constructivism was an artistic and architectural philosophy that originated in Russia in 1919. Information technology entailed a rejection of the idea of autonomous art and was in favor of fine art every bit a do for social purposes. Constructivism had a great impact on mod fine art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. It is difficult to isolate a item aesthetic common to the Constructivist philosophy as it is and then broad, just information technology tin be roughly distinguished by its use of bright, bold color and geometric designs, especially in graphic pattern.

The First Working Group of Constructivists (including Liubov Popova, Alexander Vesnin, Rodchenko, Varvara Stepanova, and the theorists Aleksei Gan, Boris Arvatov, and Osip Brik) developed a definition of Constructivism as the combination of faktura: the particular material properties of an object, and tektonika, its spatial presence. Initially the Constructivists worked on three-dimensional constructions as a ways of participating in industry. Later the definition would be extended to designs for two-dimensional works such every bit books and posters.

Proun Vrashchenia past El Lissitzky c. 1919: The geometric forms and vivid colors in this painting are characteristic of the Constructivist artful.

Futurism

Futurism was an Italian motion that emphasized and glorified themes associated with gimmicky concepts of the time to come such as speed, engineering, youth, and violence, too as objects such as the automobile, the airplane, and the industrial city. In 1910 and 1911 futurist painters made use of the technique of divisionism, which entails breaking light and colour downwards into a field of stippled dots and stripes. Severini was the first to come into contact with Cubism. Post-obit a visit to Paris in 1911, the Futurist painters adopted the methods of the Cubists. Cubism offered them a means of analyzing free energy in paintings and visually expressing their desired focus on dynamism, motion, and speed. The adoption of Cubism determined the style of much subsequent Futurist painting.

Abstract Speed + Sound, by Giacomo Balla 1913–1914: This is a seminal piece of work from the Futurist movement which was influenced by Cubism.

German Expressionism

High german Expressionism refers to a number of related creative movements showtime before WWI and peaking in Berlin during the 1920s.

Learning Objectives

Discuss the importance of the group Die Brücke and artists such as Kirchner, Kollwitze, Schiele, and Modersohn-Becker in the development of German Expressionism

Key Takeaways

Key Points

• Kathe Kollwitz, Egon Schiele, and Paula Modersohn-Becker are amid the independent German Expressionists who were unaffiliated with other Expressionist groups only nonetheless successful.
• Kollwitz is best remembered for her compassionate series, The Weavers.
• Many of Egon Schiele's contemporaries plant the explicit sexual themes of his work disturbing.
• Paula Modersohn-Becker is among the start recognized female artists to create nude self-portraits.

Key Terms

• Weimar Republic: The autonomous government of Frg from 1919 to the assumption of power by Adolf Hitler in 1933.
• expressionism: A movement in the arts in which the creative person does not depict objective reality, simply rather a subjective expression of inner experience.
• Fauvism: An artistic movement of the last office of the 19th century that emphasized spontaneity and the use of extremely bright colors.

Expressionism

Expressionism was a modernist motility, offset with poetry and painting, that originated in Germany at the get-go of the 20th century. Information technology emphasized subjective experience, manipulating perspective for emotional outcome in guild to evoke moods or ideas. Expressionist artists sought to express meaning or emotional experience rather than physical reality.

Expressionism was developed as an avant-garde style before the Starting time World State of war and remained pop during the Weimar Republic, particularly in Berlin. The fashion extended to a wide range of the arts, including painting, literature, theatre, dance, film, architecture, and music.

Expressionist painters had many influences, amid them Edvard Munch, Vincent van Gogh, and several African artists. They were besides aware of the Fauvist movement in Paris, which influenced Expressionism'south tendency toward arbitrary colors and jarring compositions.

Dice Brücke

In 1905, a group of four High german artists, led by Ernst Ludwig Kirchner, formed Die Brücke (the Bridge) in the city of Dresden. Later members were Emil Nolde, Max Pechstein, and Otto Mueller. The group aimed to eschew the prevalent traditional academic style and find a new style of artistic expression, which would grade a bridge (hence the name) between the past and the nowadays. They responded both to past artists such as Albrecht Dürer, Matthias Grünewald, and Lucas Cranach the Elder, as well as gimmicky international avant-garde movements. Every bit part of the affirmation of their national heritage, they revived older media, peculiarly woodcut prints. Die Brücke is considered to be a key group of the German Expressionist move, though they did not utilise the word itself. The group is often compared to both Primitivism and Fauvism due to their use of high-keyed, non-naturalistic colour to express farthermost emotion like the Fauvists and a crude drawing technique that eschewed complete abstraction, like the Primitivists.

Der Blaue Reiter

A few years later on, in 1911, a similar-minded group of young artists formed Der Blaue Reiter (The Blue Passenger) in Munich. The group was founded by a number of Russian emigrants, including Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin, and native German artists, such equally Franz Marc, August Macke, and Gabriele Münter. Like Die Brücke, Der Blaue Reiter is considered a major feature of the German Expressionist movement.

Within the group, artistic approaches and aims varied from artist to artist, however, there was a shared desire to express spiritual truths through their art. Der Blaue Reiter equally a group believed in the promotion of modernistic art, the connection betwixt visual fine art and music, the spiritual and symbolic associations of color, and a spontaneous, intuitive approach to painting. Members were interested in European medieval art and Primitivism, as well equally the contemporary, non-figurative art scene in France. As a result of their encounters with Cubist, Fauvist and Rayonist ideas, they moved towards abstruse art.

Kathe Kollwitz

Käthe Kollwitz (1867–1945) was a German painter, printmaker, and sculptor whose piece of work offered an eloquent and often searing account of the human being condition, and the tragedy of state of war, in the commencement half of the 20th century. Initially her work was grounded in Naturalism, and later took on Expressionistic qualities. Inspired by a performance of Gerhart Hauptmann's The Weavers, which dramatized the oppression of the Silesian weavers in Langembielau and their failed defection in 1842, Kollwitz produced a cycle of six works on the Weavers theme. Rather than a literal illustration of the drama, the works were a free and naturalistic expression of the workers' misery, hope, backbone, and, somewhen, doom. The Weavers became Kollwitz' most widely acclaimed work.

Mother with her Dead Son by Käthe Kollwitz: This Kollwitz sculpture is a WWII war memorial.

Egon Schiele

Egon Schiele (1890–1918) was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter in the early 20th century. His piece of work is noted for its intensity, as well as for the many cocky-portraits he produced. The twisted body shapes and expressive line that narrate Schiele'southward paintings and drawings mark the artist as an early exponent of Expressionism. Schiele was influenced by his mentor, Klimt, too as by Edvard Munch, Jan Toorop, and Vincent van Gogh. Schiele explored themes not only of the human form, but too of human sexuality. Many viewed Schiele'due south work as being grotesque, erotic, pornographic, or agonizing, focusing on sex, expiry, and discovery.

Sitzender weiblicher Akt mit aufgestützen Ellbogen past Egon Schiele: Schiele'southward depiction of female nudes scandalized his contemporaries.

Paula Mendersohn-Becker

Paula Modersohn-Becker (1876–1907) was a German painter and one of the nearly of import representatives of early Expressionism. In a brief career, cutting short by her death at the age of 31, she created a number of groundbreaking images of great intensity. Modersohn-Becker studied briefly at the École des Beaux-Arts in Paris and was influenced past French post impressionists Paul Cézanne, Vincent van Gogh, and Paul Gauguin. On her last trip to Paris in 1906, she produced a series of paintings about which she felt great excitement and satisfaction. During this period of painting, she produced her initial nude self-portraits—something unprecedented past a female person painter—and portraits of friends such as Rainer Maria Rilke and Werner Sombart.

Selbstporträt past Paula Modersohn-Becker, 1906: Female nude self-portraits were uncommon subjects in this era.

Abstract Sculpture

Modern abstruse sculpture adult alongside other avant-garde movements of the early 20th century like Cubism and Surrealism.

Learning Objectives

Discuss the evolution of abstract sculpture through the periods of Cubism and Surrealism, naming the important works of Rodin, Picasso, Duchamp, and Brâncuşi

Key Takeaways

Key Points

• Auguste Rodin is seen as the progenitor of modern sculpture.
• Picasso and fellow cubist artists developed new means of constructing works of art using collage, or sculptural assemblage using disparate materials. This is known as Cubist constructionism.
• Surrealism farther expanded upon contemporary definitions of sculpture by introducing the concept of the " readymade."
• Constantin Brâncuşi rejected naturalism in sculpture likewise as any grade of representational fine art. His minimal, abstract artworks attempt to depict the essence of an object.

Fundamental Terms

• abstract art: Fine art that is non intended to depict objects in the natural earth, but instead uses colour and form in a non-representational way.
• naturalism: A artistic movement that seeks to encapsulate reality or familiar experience in which subjects may receive highly symbolic, idealistic, or even supernatural treatment.
• coulage: Automatic or involuntary sculpture made by pouring a molten material (such as metal, wax, or chocolate) into cold water. Every bit the fabric cools it takes on what appears to exist a random (or aleatoric) form, though the physical properties of the materials involved may pb to a conglomeration of discs or spheres.

Rodin

Auguste Rodin, forth with artists like Edgar Degas and Paul Gauguin, adult a radical new arroyo to the creation of sculpture in the 19th century. Rodin was a naturalist, less concerned with awe-inspiring expression than with character and emotion. Departing from centuries of tradition, he turned away from the idealism of the Greeks and the decorative dazzler of the Baroque and neo-Baroque movements. His sculpture emphasized the individual and the concreteness of mankind, suggesting emotion through detailed, textured surfaces, and the interplay of light and shadow.

The modern sculpture movement essentially began during the Rodin exhibit at the Universal Exhibition in Paris in 1900. At this consequence, Rodin showed his Burghers of Calais, Balzac and Victor Hugo statues, forth with The Thinker. Though all of these are representational works of fine art, Rodin's approach to class paved the mode for increasingly experimental and abstract fine art.

The Thinker by Auguste Rodin: Rodin's experiments with form, visible in The Thinker, launched modern abstract sculpture.

Influence of Cubism

Cubist sculpture developed in parallel with Cubist painting, centered in Paris offset around 1909 and evolving through the early 1920s. The style is virtually closely associated with the formal experiments of Georges Braque and Pablo Picasso. Others were quick to follow Braque and Picasso's lead in Paris, including Raymond Duchamp-Villon, Alexander Archipenko, Joseph Csaky, Jacques Lipchitz, Henri Laurens, and Ossip Zadkine.

During his period of Cubist innovation, Picasso revolutionized the art of sculpture by combining disparate objects and materials into one sculptural work—the sculptural equivalent of collage in two dimensional art. Just as collage was a radical evolution in two dimensional fine art, and so was Cubist construction a radical evolution in three dimensional sculpture.

Head of a Woman past Picasso, 1909: Picasso was a pioneer in early 20th century Cubist sculpture.

Influence of Surrealism

The appearance of Surrealism led to objects existence described every bit "sculpture" that would not take been termed every bit such previously. Surrealist sculpture made employ of many of the same techniques equally other forms of Surrealist fine art, such every bit games to tap into the unconscious mind such as coulage, a kind of automatic or involuntary sculpture made by pouring a molten material into cold water. As the material cools it takes on what appears to be a random form, though the physical properties of the materials involved may atomic number 82 to a conglomeration of discs or spheres. The artist may use a diverseness of techniques to bear on the upshot. Involuntary sculpture is described by Surrealists every bit sculpture created past absent-mindedly manipulating something, such as rolling and unrolling a movie ticket, bending a paper clip, etc.

Duchamp

Marcel Duchamp had a deep bear upon on the development of brainchild in sculpture. He originated the use of the "found object" or "readymade" with pieces like Fountain (1917), a urinal that was displayed equally art. Duchamp experimented a great bargain with sculpture, creating readymades, assemblages, and kinetic works. His notion that annihilation tin can be fine art that an artist names art is an thought that has resonated throughout many historical and contemporary movements. Though never considered himself to exist a Surrealist, he was involved socially with many central members of the movement and his ideas were of influence.

Duchamp participated in the design of the 1938 International Surrealist Exhibition, which was held at the Galerie des Beaux-arts, Paris. The prove featured more than than 60 artists from different countries, including approximately 300 paintings, objects, collages, photographs, and installations. The surrealists wanted to create an exhibition which in itself would be a creative act, and André Breton named Duchamp, Wolfgang Paalen, Man Ray, Salvador Dali, and Max Ernst to assistance practice so.

Brâncuşi

The work of Constantin Brâncuşi at the beginning of the century paved the way for later abstract sculpture. In revolt against the naturalism of Rodin and his late 19th-century contemporaries, Brâncuşi distilled subjects down to their essences as illustrated by his Bird in Space serial (1924). These elegantly refined abstract forms became synonymous with 20th century sculpture.

Brâncuşi's impact, with his vocabulary of reduction and abstraction, is seen throughout the 1930s and 1940s, and exemplified by artists including Gaston Lachaise, Sir Jacob Epstein, Henry Moore, Alberto Giacometti, Joan Miró, Ásmundur Sveinsson, Julio González, Pablo Serrano, and Jacques Lipchitz.

Fountain past Marcel Duchamp: Duchamp's appropriation of a urinal as a piece of art challenged the prevailing definition of sculpture.

Dada and Surrealism

Dada and Surrealism were multidisciplinary cultural movements of the European advanced that emerged in Zurich and Paris respectively during the fourth dimension of WWI.

Learning Objectives

Identify the origins, characteristics, and political ideologies of Dada

Primal Takeaways

Primal Points

• Dada was a political move opposed to artistic and social conformity too equally the backer forces that led to WWI.
• Dada artists worked in non-traditional media including collage, photomontage, and aggregation. Dada creative person Michel Duchamp pioneered the notion of the "readymade;" everyday objects appropriated for artistic purposes.
• Dada spread throughout Europe and North America following WWI; by the early 1920s the center of Dada activity was Paris.
• Dada informed many of the major avant-garde movements of the 20th century century, including Surrealism and Social Realism.
• Surrealism began in the 1920s and had a lot in mutual with Dadaism.
• Surrealist works drew inspiration from intuition, the power of the unconscious mind, and various psychological schools of thought.
• Surrealist artists and writers regarded their work as an expression of the philosophical movement, with the artwork being an antiquity.

Primal Terms

• readymade: Everyday objects institute or purchased and alleged art. The readymades of Marcel Duchamp are ordinary manufactured objects that the creative person selected and modified as an antidote to what he called "retinal fine art." By simply choosing the object (or objects) and repositioning, joining, titling, and signing information technology, the object became art.
• collage: A composite object or collection (abstruse or physical) created past the assemblage of various media; especially for a piece of work of art like text, film, etc.
• social realism: An artistic movement that depicted social and racial injustice and economical hardship through unvarnished pictures of life's struggles.

Dadaism

Dada was a multi-disciplinary art move that rejected the prevailing artistic standards by producing "anti-fine art" cultural works. Dadaism was intensely anti-war, anti-bourgeois, and held strong political affinities with the radical left. For many participants, the motility was a protest against the bourgeois nationalist and colonialist interests, which many Dadaists believed were the root cause of the war, and confronting the cultural and intellectual conformity—in art and more broadly in order—that corresponded to the war. Many Dadaists believed that the reason and logic of bourgeois backer lodge had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to decline logic and encompass chaos and irrationality.

The origin of the name Dada is unclear. Some believe that it is a nonsensical word while others maintain that it originates from the Romanian artists Tristan Tzara'due south and Marcel Janco's frequent use of the words "da, da," meaning "yes, yes" in Romanian. Another theory posits that the name "Dada" came during a meeting of when a knife stuck into a French–High german dictionary happened to point to dada, a French give-and-take for "hobbyhorse." Likely, the origin of the name Dada is another attempt to devalue a system of logic, namely that of language.

Dada began in Zurich in 1916. Key figures in the Dada movement included Hugo Brawl, Emmy Hennings, Hans Arp, and Raoul Hausmann, among others. The movement influenced subsequently styles like advanced, and movements including Surrealism, Nouveau réalisme, pop fine art and Fluxus.

Plaque commemorating the birth of Dada movement: This plaque is from the Cabaret Voltaire, the offset venue where Dada artists showcased their work in 1916.

Dada was an informal international motion with participants in Europe and North America that employed all kinds of media but are known especially for collage, writing, photomontage and operation. Dadaists worked in collage, creating compositions by pasting together transportation tickets, maps, plastic wrappers and other artifacts of daily life. Dada artists also worked in photomontage, a variation on collage that utilized bodily or reproductions of photographs printed in the press. In Cologne, Max Ernst used photographs taken from the forepart during World War I to annotate on the war. Another variation on collage used by Dadaists was aggregation, the assembly of everyday objects to produce meaningful or meaningless pieces of work, including war objects and trash.

When Earth War I concluded in 1918, most of the Zurich Dadaists returned to their home countries, while some began Dada activities in other cities.

Dada poster from 1923: This poster for a Dada soiree references the medium of collage.

Similar Zurich, New York City was a refuge for writers and artists from Globe War I. Frenchmen Marcel Duchamp and Francis Picabia met American artist Man Ray in New York City in 1915. The trio soon became the center of radical anti-art activities in the United States.

During this time, Duchamp began exhibiting "readymades" (everyday objects found or purchased and declared art) and was active in the Lodge of Independent Artists. In 1917, he submitted the now famous Fountain to the Social club of Independent Artists exhibition. Initially an object of scorn inside the arts community, the Fountain has since become almost canonized past some as one of the most recognizable modernist works of sculpture. The committee presiding over United kingdom of great britain and northern ireland's prestigious Turner Prize in 2004, for example, chosen it "the about influential work of modern art."

Fountain by Marcel Duchamp: Duchamp'south appropriation of a urinal as a slice of fine art challenged the prevailing definition of sculpture.

By 1921, most of the original Dadaists moved to Paris, where Dada experienced its last major incarnation. Inspired past Tristan Tzara, Paris Dada soon issued manifestos, organized demonstrations, staged performances, and a number of journals.

While broad, the Dada motility was unstable. By 1924, artists had gone on to other ideas and movements including surrealism and social realism. Some theorists argue that Dada was the offset of postmodern art.

Surrealism

Surrealism was a cultural movement beginning in the 1920s that sprang directly out of Dadaism and overlapped in many senses. Surrealist works drew inspiration from intuition, the ability of the unconscious mind, and various psychological schools of idea. The piece of work frequently features unexpected juxtapositions, non sequiturs, and elements of surprise.

Offset and foremost, Surrealist artists and writers regarded their work as an expression of the philosophical move, with the artwork being an antiquity. Leader André Breton was explicit in his assertion that Surrealism was in a higher place all a revolutionary motility. Surrealism developed out of the Dada activities during Earth War I and the nigh of import center of the movement was Paris. From the 1920s onward, the move spread effectually the globe, eventually affecting the visual arts, literature, film, and music of many countries and languages, too equally political idea and practice, philosophy, and social theory.

Equally the Surrealists adult their philosophy, they believed that Surrealism would advocate the idea that ordinary and representative expression was vital and important, only that expression must exist fully open to the imagination. Freud's work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists as they developed methods to liberate their imaginations.

Like Dada, Surrealism aimed to revolutionize homo experience, in terms of the personal, cultural, social, and political aspects. Surrealists wanted to free people from faux rationality, and also from restrictive customs and structures. Breton proclaimed that the truthful aim of Surrealism was "long alive the social revolution, and it alone!"

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/european-art-in-the-early-20th-century/

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